In fiction writing ideas have to be handled extremely carefully. You can't let your characters just be mouthpieces for your ideas. They have to live and breathe on their own.
But sometimes when I was starting a new story and I could not get it going, I would sit in front of the fire and squeeze the peel of the little oranges into the edge of the flame and watch the sputter of blue that they made. I would stand and look out over the roofs of Paris and think, 'Do not worry. You have always written before and you will write now. All you have to do is write one true sentence. Write the truest sentence that you know.' So finally I would write one true sentence, and then go on from there.
Everything has to be clean and orderly when I sit down to write. I have candles going, and small objects that remind me of what I am working on, or bring me into the world of the character.
The good parts of a book may be only something a writer is lucky enough to overhear or it may be the wreck of his whole damn life - and one is as good as another.
Of course, relative citation frequencies are no measure of relative importance. Who has not aspired to write a paper so fundamental that very soon it is known to everyone and cited by no one?
I only can write a book every two years, you know. And I write very fast, but I'm not always writing every day. I needed a contact with different things, like nature, for example. I cannot be in front of a computer trying to tell a story.
There is no better feeling than when you write something you know is a piece of you and that, at some point, is going to communicate with someone else.
It helps to write down half a dozen things which are worrying me. Two of them, say, disappear; about two of them nothing can be done, so it's no use worrying; and two perhaps can be settled.